After yesterday’s spectacular start to our look at great movie montages we CUT TO part-two now.
We here at Mostly Film understand your problem. You want to read the Blog, but you’re rushed off your feet; so much to do, so little time. So what do we do? In the classic movie manner, we give you a Montage Sequence: one handy package of compressed time with one overriding outcome: great Montage Sequences.
by Paul Duane
Kenneth Lonergan, a big, disorganised-looking, mop-haired, slightly put-upon-looking man, sits at the front of the auditorium. He’s looking at the audience, they’re looking at him, and nobody speaks. The guy who’s doing this Q&A with Lonergan, director Damien O’Donnell, is nowhere to be seen – it transpires he’s looking for a small bell that he’s brought as a prop, for some reason that never really becomes clear. There’s a long, uncomfortable pause as the audience and Kenneth Lonergan try to figure out the etiquette to deal with this mild bit of social discomfort.
It’s a very ‘Kenneth Lonergan’ type of moment, right out of Margaret, Lonergan’s second film in his two-film career as a writer/director.
Margaret’s a baggy, shapeless, engrossing story that can’t really be described except to say that you need to see it in order to talk about it. If you do see it you’ll definitely want to talk about it, the way you talk about people you know and the odd, compulsive decisions they make, and why the fuck did they do this and not that? It’s that kind of film.
Lonergan was visiting the Jameson Dublin International Film Festival to talk about screenwriting. Here’s some of the things he had to say on the subject.
by Susan Patterson
Mostly Links is back and this week it goes colour. Mostly Links has been pondering why so many films are so blue. And orange. If you’re wondering what we mean think CSI Miami. And then some. Mostly Links first pondered this after seeing Carancho (dir: Pablo Trapero, Argentina, 2010), and wondering why everyone was wearing a blue shirt, and why all the streets were bathed in orange light, until finally everything shot from inside a car was steely grey, with not a single other colour in sight.
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